Get Your Art Seen

Get Your Art Seen

Marketing Masterclass for Visual Artists

Each week I create a brand new article to support members of our three wonderful art groups on Facebook, The Artists Exchange, The Artists Directory and The Artist Hangout and each week I offer an insight from my own experiences encountered over the past 30-something years of building a career in visual arts.

This week I offer a few more insights into marketing and expand on some of the topics we have covered recently. We will also take a look at what it takes to be an independent visual artist in the 21st Century. Whilst I can’t tell you exactly how to be an artist because what makes someone an artist is different for everyone, I can draw down from my own experiences and hopefully provide a little clarity that will help to get your art seen and which might just help you to grab a few more sales.

Hope you enjoy the read!

If you managed to read my recent articles about the importance of documenting your art and how using contextual descriptions, metadata, and search engine optimisation techniques can improve your portfolio and ultimately your sales, then you will definitely want to take a look at this week’s article where we expand on some of the other things that have to be considered in your marketing strategy.

The landscape of the art world has changed...

The landscape for art sales has certainly changed over the past three decades. There was a brief time in the early 1990’s where thinking back it seemed easier to reach local markets but with the dawn of the internet it is now just as easy to reach a global audience in many respects. Love it or hate it that is down to the emergence of social-media which truly has made the world a much smaller place. Whilst a global market sounds way better than feeding in to a local market, it also adds much more complexity and obviously much more competition.

To be an independent visual artist in the 21st Century takes so much more than raw talent and a creative mind. Today more than ever an independent visual artist needs to draw on a broader range of skills than ever before.

The art world hasn’t always been an easy ride and with social media extending the reach of artists, it also means that there is a lot of choice for the consumer when it comes to choosing the right artwork. That means that if you are an independent visual artist today you have to do and offer something that no one else offers, you really do have to be unique.

Not only do you need to create new artwork on a regular schedule you also need to run a full on business and have a strategy that will get you noticed in the art world.

Independent visual artists need to pull out every trick in the book to stand out and often that means that they quickly need to adapt to changing commercial landscapes and perform the duties of many singlehandedly.

The tricks that an artist pulls out of the hat to move their art also have to be the right tricks, buyers are savvier than ever before and with the emergence of social media and sophisticated search algorithms, using the wrong tricks often means you get penalised in search results or down-ranked on social media. In short, you can easily become almost invisible.

It’s unfortunate but only a small element of the duties you need to perform will be getting down to creating art. The remainder of the time in between often short bouts of sleep will more than likely be spent marketing your work, balancing the books, carrying out a whole heap of research, keeping your artistic space and mind tidy and maintaining a professional portfolio complete with relevant documentation.

You could just focus on the art side of things and ignore all of that but if people can’t see what you are doing and can’t find you, you’re not going to get sales.

In short any artist today who goes it alone has to be multi-skilled and be ready and alert for every single new change or opportunity that comes their way. That doesn’t mean that creating new art should take second place all of the time, in fact it should always be your number one priority but you will find that creating new art has to compete with everything else that needs to be done. The creative process alone isn’t enough if you want to sell your creations. It’s all about finding a balance and finding a market and those are really difficult things to do more often than not.

If you have been spending hours/months/years looking for any shortcuts that will bring you instant success as an artist then you will have wasted your time along with so many others who have been looking for those shortcuts too.

There are no shortcuts, I have been looking for more than 30-years and the only guaranteed way to get your art in the hands of customers is through some really hard work and having a smart strategy that makes sure you are not wasting effort on things that just won’t work or won’t sell or even worse will never get your art in front of the right sets of eyes. The time you spend on the endeavours that never provide the fruit is wasted time which could be spent creating.

Selling art sounds simple at first glance. If you can create something that people love enough they will buy it. But everyone is different, every artist has their own uniqueness in some way, and every artwork is subjective. Some people will love what you do, others not so much and there are those sat somewhere on the fence in between.

You need to reach out to those who love your work because they’re your obvious market, they are the core audience who will buy whatever you create and they are the ones that will sustain your efforts moving forward.

Those sat on the fence either will or won’t buy your work and unless there is something that convinces them to nudge slightly over the fence they will continue to sit there or they will move across to the side where they will never buy your work. Those are the people who need convincing so you have to do something that sways them towards you and your work.

Those who don’t like what you do are unlikely to ever buy your work but that’s not to say that you shouldn’t keep a watchful eye on that landscape too. Tastes in art do change over the years. The question is how much effort are you putting into the groups of people who are your immediate and potential market and how much effort are you putting in to those who at this moment are not your market at all?

Who is my target market?

I think I might have mentioned this a few times before but the absolute first step in selling anything at all whether it be art or anything else is to understand the type of person who wants what you have to offer.

Who is your target audience? Well they’re anyone who prefers the style and the type of art you create. Once you have found those people you need a marketing strategy that allows you to engage with them and maybe reach out to those on the fence as an aside but your focus should really be on those who are more likely to buy your work.

Not everyone thankfully likes the same art as everyone else and people’s preferences change over time too. The audience you once couldn’t even get close to might be your audience of tomorrow so whenever you determine who your target audience is you have to be prepared to keep re-figuring this bit out and then adapt your strategy accordingly.

At some point you could see a complete about turn from the people that never wanted to buy your work, so whilst you should focus your efforts on those who are buying and will buy and those who could be convinced to buy, you should never totally ignore those in that last group who you thought would never buy.

My audience a decade ago wasn’t too dissimilar to my market today but some of my audience are different enough that I have to take those differences into consideration when I market my work. Last year more of my work was sold to my known target market but I also sold work to people that sat well outside of who I thought was my target market so now my strategy for marketing has had to change. One of the biggest changes I have had to make is in the amount of effort needed post-sale to make sure those clients return.

The biggest mistake I see young and new artists make is that they will market their work to pretty much everyone between the ages of zero and a hundred years old in the hope that one day they will catch a bite.

Those artists would need less bait, less energy, and get better results if they realised sooner that their audience was between the age of 35-40 and who preferred X instead of Y. Not that your audience will be between 35 - 40, that’s the bit the artist needs to figure out.

Those outside of that age range and who might have slightly different preferences aren’t out of the picture entirely but they are much less likely to take the bait than the market you already have. Knowing your target audience means that you can focus on those you know are more likely to buy your work and you can spend less time on marketing and reaching out to those who probably never will.

Regular readers will know that I call this the spray and pray approach to marketing and it can be seen in the thousands of art and non-art related groups across social media. Posting a painting of a cat in a group for retro computer enthusiasts just doesn’t have a fit unless that cat is painted in an eight-bit pixelated style and has a link with Atari whilst holding a joystick and kicking a space invaders ass. That my friends would be ideal for a retro gamers group but not as ideal as creating retro computer paintings. Even within a niche audience there could be a deeper niche audience.

The same thing happens offline too. Just last week I spoke to an old friend who managed a gallery in the 1980s and the gallery specialised in abstracts. He told me that every week he would get submissions from artists who would present everything from still life to realistic portraits and only occasionally would any abstract art be submitted at all. The buyers he had at the time would only ever go to the gallery to see the abstract works and they wouldn’t be swayed into anything else, it just wasn’t who the gallery or their clients were. In short they knew they could only sell abstracts to the audience they had because they knew who their market was.

Asking your audience questions will go some way to giving you assurance that you are on the right track. What is it that your audience want, what do they value, do they like the idea of this or that, and this not only shows that you want to address your markets needs it will also help you to frame your marketing so that it resonates emotionally with them. Social media can play a role in this, as can speaking to previous and potential buyers face to face.

Finding Your Art Market…

Once you have an idea who your audience is you need to find them. Getting to know who your target market is seems relatively easy in comparison to knowing where they hang out.

Despite any pre-conceived ideas you might already have, not everyone hangs out or buys art via social media and most people are not going to be your target market. Being all things to everyone isn’t something that most if any artists will be able to do or be so it’s better to focus on your niche.

That will mean that you will have a smaller audience but they will be way more focussed and it will be easier to make a sale to them because you are creating exactly what they want.

There’s no rocket science behind this, it is how marketing works whatever you have to sell or whatever service you have to offer. Finding out where those people are hanging out though is a tad more complex.

This is where you need to spend some time carrying out some research. The aim is to figure out which artists are producing and selling work that is similar to yours and who have similar experience. Focus on the word selling at this point because those artists you come across might suck at marketing too and might not have yet found their own market. You could end up basing your own business decisions on someone else’s bad business strategy.

Research that keeps you tied down in front of a computer screen will only give you certain and often limited information. The ideal is to go out and visit galleries or anywhere that sells work in a similar style to yours and take notice of how people are engaging with it. Are they browsing or are they buying, what are they saying, what medium is the work produced on, what’s different between your work and the work on display and how much experience does the artist who produced it have?

Engaging with potential clients…

Once you have figured out the, who and the where you can then start to engage with an audience. Engagement is so very important on social media but it is also the most important aspect of making sales wherever you carry out your marketing and especially when dealing with clients face to face. There is also a distinct difference between marketing and selling that you have to be aware of.

Making yourself available through social media is a great way to build up some engagement but you do need to consider going one or two steps further. Having offline conversations with clients and addressing their needs directly is so much more personal than writing a reply in a comment box. By all means use social media as a tool to open engagement and generate leads but always remember that social media isn’t a complete sales platform, it’s an enabler but shouldn’t be viewed as the sole key to generating sales.

Knowing how and when to engage is the next step. Telling the story of your work and telling the story of who you are and what you are about will add a personal connection that will evoke a significantly more emotional response from potential clients which will help to build up the clients trust and confidence in you.

Take a look at random posts in many of the art groups on Facebook and one thing you will notice is that those who are adding context, engaging with lots of different people and building relationships are the ones who will be getting the most shares and likes. You’ll also notice that many posts that don’t have context and where the poster isn’t engaging and building up relationships won’t have anywhere near the same level of engagement. This is what happens when dealing with client’s offline too.

Starting the process of engagement particularly on social media is challenging. You might start commenting on posts and the original poster never responds, that’s a good indicator to move on. You might find that no one is engaging with your posts but if you build up relationships with those who do respond they’re more likely to engage back in return. You might also want to try posting something different, and by different I mean something that provides a benefit or value to others. Doing that will make it easier for others to engage.

Let them see your creative process by using video or set up a live stream or offer some suggestions as to what art to buy. Comment on art more generally rather than making it completely about you. People don’t like hearing constant sales pitches, occasionally they need some respite so make sure you are mixing it up and giving them more reasons to engage with you.

Whilst on the subject of not making every post about you and your art consider sharing the work of other artists who in return will hopefully reciprocate. This widens the appeal of your social-media presence, gives more people a reason to come back and visit and also makes sure that you always have something fresh in your timeline. We know that social media algorithms look for relevancy before displaying the post to more people, so helping each other will in time help you and those shares will extend the pool of people having sight of yours and the other artists work.

Add Value…

Adding value shouldn’t stop once you have people engaged, it should follow through during the sales process too. Once they have committed to purchasing a work continue to add value and go the extra mile.

Does the work come complete with a hanging kit, do you offer secure shipping, and can you arrange installation of the work? Adding a few extra services will differentiate you from others and will certainly put you way ahead of the offerings made by the box stores who will often overcharge for essentials such as hanging wires. People remember good customer service just as much as they remember bad customer service, and people will make recommendations or put others off based on these factors.

When someone buys a piece of art they usually can’t wait to hang it on their wall so anything that gets the buyer from the point of sale to point of enjoyment as expediently as possible is worth offering.

Make buying art an experience…

Currently many retailers are facing difficult times and many have been facing closures of their business. The economy has been brutal over the past decade and just when the green shoots of stability looked like they were starting to appear, massive retailers such as Toys ‘R’ Us went under.

One of the observations from the wider industry was that they didn’t keep up with customer needs and they didn’t offer customers visiting physical stores much of an in store experience which would make it feel different enough from online shopping to make them visit a retail location.

They offered the same products that customers could buy online and when customers chose the online route they were often paying less, and often they were paying less by shopping with someone else. It’s easy to compare pricing online and consumers have much more choice. There was no experience that you couldn’t get anywhere else whichever way you shopped.

That’s slightly more difficult as an artist when customers choose to buy online but there are ways that you can offer customers something that makes the buying process more rewarding and engaging. Far too often the experience from many sellers is about how they extract value rather than add value to the customer.

Sales in many sectors have seemingly been driven more by process of late and that puts the client secondary to the process of selling something to them. If a client falls into a hole there will be a queue of sales people willing to sell them a ladder but only a few will stand at the top of the ladder and hold their hand as they climb out.

If you have a studio then give clients a little art theatre. Demonstrate or teach them how to create something. Offer something that no one else offers then your art will not just be a piece of art, it will continue to be a souvenir of the experience the client received whilst conducting business with you. The transaction will be remembered and hopefully customers will come back.

Put the client front and centre. That little extra could be advice about framing or cleaning the art, or an education so that they are better informed about the differences between mediums, or it could be something as simple as offering a loyalty card or discount to existing collectors. No one likes pushy sales people but everyone loves great customer service.

When you start adding value in this way your market will eventually build up a sustainable and trusting relationship with you, and that can never be done by only posting a link on social media which simply says “buy my art” or “IM ME FOR PRICE”.

It becomes a little more difficult to offer a customer experience if you only sell through print on demand sites but it is still something that you can do if you are generating the original leads.

Just because you sell via print on demand doesn’t mean that you can’t offer great customer service. The difficulty faced by artists is that once the transaction has been made on the print on demand site then the print on demand service will take on the relationship with the buyer and all that you will know is that Mary from Maryland purchased a print.

Print on demand sites rarely if ever share buyer information beyond a name and location so if you can attract your own buyers through social media and point those clients towards your own print on demand store you will have the best of both worlds. The next time Mary wants to buy one of your prints she is more likely to reach out to you before she makes the purchase if she knows that by doing so she will get some added value.

If you have your own site connected to your print on demand service such as the Pixels sites which come with the premium subscription from Fine Art America make sure that somewhere on the Pixels site you let potential buyers know that they can reach out to you ahead of making a purchase and list some contact details on the site.

Tell them how you can add value, let them know that they can contact you with any questions, let them know that you are a real person, and that there is someone behind the art that they see.

Offer a strong portfolio of work and make it coherent…

Once you have your target market identified it makes everything so much easier when you are creating new work. Your work will resonate with your target audience because you listened to what they wanted, and because you are creating what they want you won’t run out of ideas quite so often and you can begin to offer a portfolio that collectors really will fall in love with.

Make sure that your portfolio makes sense to the buyer. Unless the babies name is Tristian and his parents plan to oik him off to a fine art boarding school from the age of a week old, there’s not much point in putting your replica of the Mona Lisa on a baby grow unless that would make total sense to your market.

There is an inherent danger when using print on demand that we allow our art to be displayed on everything that they sell. Some of those products make sense and if like they do on Fine Art America (FAA) the sites allow you to upload once and then sell on everything, it starts to make a little more sense to make your work available on whatever is being sold, but it still has to make sense to your market.

FAA have a limited range of additional products available over and above traditional print mediums and for the most part their products will make sense. Go to other POD sites though and you will find that they have thousands of products available and the temptation is to upload your work multiple times and place it on every single one of those products. Suddenly people have the opportunity to purchase a design or artwork that works well on one or two products but not on other products. That detracts from the products where the design does work well.

Uploading to everything also takes time and you have to consider if it makes sense not just from the perspective of having a coherent portfolio but in terms of the time you need to spend uploading your work to products that your market wouldn’t be interested in at all or products that don’t convey what you are about as an artist.

When you do place your artwork on to different products make sure the art is optimised for that product. Again on FAA and many of the other POD sites you can upload a different image for each product. If you have a ping image (.png) of your work these would be ideal for T-Shirts and Tote bags, and even towels. Typography works better as a ping image on T-Shirts for example because you don’t have a square or rectangular background, the background will be the colour of the item and the client will have more of a choice.

Ignore the trends too for the most part. Trends come and go and often last only until the next new thing comes along. Whilst it is tempting to work on a piece of art that has a style that is currently selling better than other styles it can mean that consistency in any of your previous styles goes out of the window. If you do this you also have to make sure you can rapidly create that new trend or style and market it, but that’s not to say that you can’t experiment or create very different things.

As I said not too long ago, I sell different products through different channels which keeps a degree of separation so a majority of my art will be on FAA, some of my typography and a few of my very old pieces are on Zazzle, some of my planned new T-Shirt designs will either go into Zazzle and some will go into my new store which I’m opening soon through another online retailer. Those latter two channels will only have specific works from my portfolio available on them.

My originals, commissions, and collector only works are offered only directly. This is how my current market prefers to buy my work but I also know that their preferences could change at any time in which case I’ll swap around my sales channels and will look for new opportunities.

If you have a print on demand store you could also separate out different styles of works by putting them into categories and folders. On Fine Art America there is a really useful feature that allows you to create a password protected area which is eventually where I plan to offer my collector only editions.

There’s still no way that I can figure out that I can provide my limited edition prints on FAA which is a real shame and I think it is the only downside of FAA for me, other than I would love it if they featured my work more prominently just once or twice! I wouldn’t mind paying double the yearly premium fee for that feature.

Frequency of art drops…

Something we have covered in part before is the release schedule of new artwork. Never be tempted to drop all of your art together on the same day. Spread the love across multiple days or weeks and you can use this as part of your marketing strategy that will hopefully keep fans and followers coming back.

If you have seven new artworks ready to drop on to the print on demand site consider spreading these out over a week with a new piece of art released every day. Some work is always stronger than other work that any artist produces and what you don’t want is to find that some of the weaker work overshadows the great work.

If the art will be featured on the homepage of your website everything will be competing with everything else but if you have a regular release schedule not only does it give each piece some space to breathe and generate sales, it also gives you plenty to talk about over an extended period on your website, social-media, blog, or anywhere else. The other upside is that it gives people a reason to come back to you time and time again.

Think about what galleries do whenever they release a new piece of work. They will focus on each work and create a marketing campaign that leads up to the release of that work and then they will maybe hold an event to launch it. Here are a few ideas that might give you a little inspiration around dealing with new releases.

Have a countdown to release and feature photos and pictures or video of work in progress

Create a video about you and your process for creating a piece of work

Consider doing frequent Facebook Live events during the build up

Build some excitement by showing snippets of the upcoming work

On the day of release be around to answer any questions or make the release into a Facebook live event too

Publicise any live events way ahead of time and right up to the time that you will be going live to give everyone the opportunity to be around and view the event.

Even let your local newspaper know, a few of them will have arts sections and might just be interested in letting people know that a local artist is producing great work.

Take advantage of holidays, events, and occasions…

So many of us miss out on some of the best marketing opportunities because we are either too busy, disillusioned due to lack of sales, or simply forget or don’t know that opportunities to encourage extra sales exist.

Mother’s Day, Father’s Day, National save the unicorn day, buy a piece of Mark’s art day, there’s pretty much a day for everything and everyone, apart from the latter but we should definitely make that a thing.

Usually what happens is that we will realise today that next week is Christmas (it’s not but in about five minutes it will be), and we rush to get some marketing materials out in a last ditch bid to win over a few buyers, we fail miserably and we don’t sell any art. We missed the window of opportunity.

Often we don’t start the marketing until sometime after the last day of posting to guarantee delivery before the day or event and no one buys our work. We didn’t make it visible enough in the critical timeframe when people were deciding what gifts they needed to buy and the last day of guaranteed delivery so that the artwork or art collectible would arrive on time.

Most of the POD services will give you a heads up that from a certain date free postage will be available to buyers or that there are order deadlines for delivery by a specific date, but others are not so hot on this and they only let you know on the day or give you very little notice. This is something I found out the last time one of the POD services got in touch to let me know about a free shipping offer but the day had already been and gone by the time the email came through.

I get that they don’t want to give too much away to their competitors but giving more than a day’s notice seems to be not too much of an ask from a designer or artist who needs to prepare their marketing. Free shipping is a huge draw to clients who have been getting used to the concept from buying from online services such as Amazon Prime. Customers are being conditioned to expect free shipping on orders made online more generally from a range of online sellers and I think that could become problematic at some point.

Gripe over, there are literally so many missed opportunities that unless you are on top of everything it is easy to let things slip through the net or miss things entirely. I keep a seasonal calendar set up within my calendar app which tells me what days are coming up and what days I need to start preparing new art for those days, and what day I should start any marketing campaigns. I also keep note of offers such as discounts and free shipping codes.

I only choose a few of the days each year where they have a fit with my work but if you have the time and have existing art that might have a fit with these national days and holidays then it’s worth keeping a scheduling plan in your marketing arsenal. I have a new article written and ready which I will publish very soon which will give you some ideas for the rest of 2018!

Prepare marketing material ahead of the planned campaign…

I have mentioned this so many times before but it’s worth a reminder. It might be better to prepare your own marketing materials rather than using the same stock images of the same room with a representation of your art hanging on the wall that everyone else uses with their art when selling through the same print on demand site.

Adobe Spark Post is one such tool I use for many of my own marketing material needs and it is available on the web, on iOS, and it will be coming soon to Android. I use it every week for creating graphics on this site purely because it is so easy to use and it’s really fast. Last minute editing, on page SEO and uploading can take three hours each week and then the posts need to be created that will be scheduled to go out on Twitter and through other platforms so anything that can save time is really beneficial.

Full disclosure I am an Adobe Spark Insider so I get to know what’s coming up, and what I can say right now is that Spark is about to become even more awesome!

You can even set up your own branded templates if you already have an Adobe subscription or you can pay a monthly subscription just for enhanced Spark features which include branding and templates, but the free version will probably give most of you what you need to create simple marketing graphics.

I tend to create graphics for this site up to three and sometimes four months in advance. For my marketing images it can be anywhere up to six or seven months in advance or as soon as I start creating or have identified a work I want to create. When the time comes I usually have a range of images I can call on and use.

In the interim I create a few other generic marketing images which can then be used as templates either now or next year or sometime even further down the line. It might sound tedious but it really does save so much time when it comes to marketing and with a system such as Adobe Spark the creation can be done often within a very short period of time. A library of templated marketing images featuring my brand are always at hand so that I can use them whenever I am really short on time.

There’s also a Spark Page website for creating webpages, and there is of course the video creation tool called Spark Video. Each are separate applications on iPhone and iPad but on the web they’re all in the same place. Check out the website for Spark right here: https://spark.adobe.com

As I said, you don’t need to subscribe the full blown Adobe CC or Photoshop package but if you are a visual artist then having access to Photoshop and Lightroom are really going to benefit you longer term. Even if you don’t create digital art at all, preparing your work for upload to print on demand is so much easier when you have the right tools.

Think it’s expensive? Subscriptions to Photoshop and Lightroom start at around £9.98 UK ($9.99 US) per month for the basic photography package which includes Photoshop CC and Lightroom CC with some Creative Cloud storage. Prices increase depending on whether you want other apps such as Illustrator, and whether you need access to Adobe stock images and the full range of software and more Creative Cloud storage. It’s yet another expense for an artist and I do get that, but it is an exceptional tool to have in your creative toolbox and the basic package is about the same cost as two or three cups of coffee from a coffee chain.

Use all of the features of your Print on Demand store…

Most of the POD services will come with additional promotional tools and features. In FAA you can add a blog to your Pixels site, create a press release, and offer promotional vouchers.

Once you have created a voucher through Fine Art America you can then create an offer which you can post on your Facebook business page so that people can claim the voucher code rather than you just posting it. Just go to create offer in the desktop version of Facebook when logged on to your business page. There are lots of benefits in offering those codes this way including getting to know how many codes have been claimed.

Literally there’s a tonne of stuff and features that artists forget is available to them and it’s sitting at hand. Again that is why I love Fine Art America and its associated sites. Not only does the premium account offer the Pixels site but the quality of the products and prints are exceptional.

There are so many marketing tools that you can also access and all for $30 per year. You would pay way more than that for an email marketing tool which by the way on Fine Art America allows you to send out up to 10,000 emails at a time!

I tend not to use the special limited time promotions anymore because I have changed my pricing strategy and instead prefer to offer great value prints and collectibles all year, but some artists find running these promotions fruitful.

I mentioned the blog on the Pixels site and this is an easy way to get started in creating the occasional blog without committing to a full-blown affair such as the site you are on right now. Just create a post whenever you want to showcase a new work and you will quickly build up some content that viewers will want to read and good content that offers value will help to keep them in your online store.

I am planning to write an article on each of the additional behind the scenes benefits of Pixels and Fine Art America at some point and give you a few ideas around how they can be used, so let me know if that’s something you want to see!

Good luck!

If there is a subject that you would like me to write about then please leave a comment and I will do my best to get the answers and write the article! This site is about supporting you as the artist and art buyer as much as it is about anything else so feel free to reach out if there is something you want to see!

Whilst I can’t guarantee that I will have an answer to everything we do have a huge network of support within out three wonderful art groups on Facebook and via other channels too.

Hopefully this week’s article will have given you a few extra ideas that will help to give your sales a nudge, and if there are any tips you want to share with everyone else then please do let us know what they are!

About Mark

Mark A. Taylor is a UK based artist who sells his work around the world online here, https://10-mark-taylor.pixels.com and in more than 150 retail stores across the USA and Canada including The Great Frame Up, Framing and Art Centre, and Deck the Walls.

Mark Taylor is a professional artist and blogger who supports other independent visual artists and creatives.
His work is sold online through Fine Art America, Pixels, and Zazzle, and through more than 150 retail locations across the USA, Canada, and the UK